Inter-chord attributes

In addition to the
chord attributes
that can appear in the square brackets
before time and pitch information, there are a few attributes that are
specified after the time and pitch information. These are attributes that
start or end on the chord but also affect other chords. There are several
such attributes:

The word "tie" may be preceded by the word "dotted" or "dashed" to
produce dotted or dashed ties, otherwise normal, solid ties are drawn.
The word "tie" may be followed by the word "up" or "down" to specify the
direction of each curve's bulge. If neither is specified, Mup will
determine an appropriate direction, so you only need to give a direction
if you wish to override Mup's choice.
After the aforementioned items (if any),
you may put 'to voice N' to tie to the chord in
voice N rather than in the current voice.

You can also produce the effect of tying chords by using additive time
values. For example, the following lines produce the same output:

Chord slurs

The keyword "slur" can be placed at the end of a chord to indicate
that each note in the chord is to be slurred to the corresponding
note in the following chord. In other words, the top note of the chord
is slurred to the top note of the following chord, the second from the
top note in the first chord to the second from the top note in the
second chord, etc.
Thus the following 2 measures give equivalent output:

1: 2f<d> a<b> c+<d+>; dbd+;
bar
1: 2fac+ slur; dbd+;
bar

The chord with the "slur" keyword
and the chord that follows it must have the same number of notes.
The word "slur" may be preceded by the word "dotted" or "dashed" to
produce dotted or dashed slurs, otherwise normal, solid slurs are drawn.
The word "slur" may be followed by the word "up" or "down" to specify the
direction of each curve's bulge. If neither is specified, Mup will
determine an appropriate direction, so you only need to give a direction
if you wish to override Mup's choice.
After the aforementioned items (if any),
you may put 'to voice N' to slur to the chord in
voice N rather than in the current voice.

Custom beaming

Normally, notes of eighth or shorter duration are automatically beamed
according to the specification of
the "beamstyle" parameter.Occasionally, you may wish to
override the default beaming style for a particular situation.
This is done using the "bm" and "ebm" keywords. The "bm" (short for "beam")
is placed at the end of the chord which is the first to be beamed.
The "ebm" (short for "end beam") is placed at the end of the last chord.
Both chords must be in the same measure. If there is any custom beaming
specified for a given voice in a given measure, the default beamstyle
is turned off for that voice for the entire measure, meaning that only
what you explicitly specify to be beamed will be beamed.
An example:

In the absence of custom beaming, Mup will beam notes together
using the
beamstyle parameter,
if that parameter is set.
The beamstyle parameter is a list of time values that add up to
a measure. Each time value tells how many chords to beam together.
For example, a 2 means to beam a half note worth of chords together,
whereas 1.. would indicate that a double dotted whole note worth of
chords should be beamed together.
Here are some examples of how the beamstyle parameter works.

// beam each quarter note worth of notes together,
// breaking the beaming at each quarter note boundary
score beamstyle = 4,4,4,4
music
1: 8c;d;e;f;g;a;b;c+;
bar
1: 8c;d;4e;f;8g;c;
bar
// beam each half note worth of notes together,
// breaking the beaming at each half note boundary
score beamstyle = 2,2
music
1: 8c;d;e;f;g;a;b;c+;
bar
// the middle two eighth notes will not be beamed together,
// because they are on opposite sides of the half note boundary
1: 8c;4d;8e;f;4g;8c;
bar
// beam each whole note worth of notes together
score beamstyle = 1
music
1: 8c;d;e;f;g;a;b;c+;
bar
1: 8c;4d;8e;f;4g;8c;
bar
// in 9/8 time, beam each dotted quarter note worth of notes together
score time = 9/8 ; beamstyle = 4., 4., 4.
music
1: 8c;d;e;d;e;f;e;f;g;
bar
// the eight notes will not be beamed together,
// because they are on opposite side of the dotted quarter boundary
1: 4.c;4d;8e;8f;4g;
bar
// in each measure, beam the first dotted half worth of notes together,
// then beam the remaining dotted quarter worth of notes together
score beamstyle = 2., 4.
music
1: 8c;d;e;d;e;f;e;f;g;
bar
// in each measure, beam the first dotted quarter worth of notes together
// then beam the remaining dotted half worth of notes together
score beamstyle = 4., 2.;
music
1: 8c;d;e;d;e;f;e;f;g;
bar

The value of the beamstyle parameter is remembered for
any later changes back to the same time signature.
For example, suppose you set

time=4/4
beamstyle=4,4,4,4

then later in the piece switched to

time=3/4
beamstyle=4,4,4

Then any time you went back to 4/4 or 3/4, the beamstyle you had set for that
time signature would automatically be set as well.
You could, of course, override the automatic setting
with a new beamstyle if you wished.

Normally Mup will break beams whenever it encounters a rest or space,
but if you or specify an "r" at the end of the
beamstyle parameter, it will beam across rests
of eighth note or shorter duration. Similarly, specifying an "s" at the
end of the beamstyle parameter will cause it to beam across spaces of
eighth note or shorter. Specifying both (in either order) will result
in beaming across both. Mup will also beam across eighth note or
shorter rests or spaces inside of custom beams.

Sometimes, if there are many short notes beamed together, you may wish to
subdivide the beams into smaller groupings, where the outer, or primary
beam remains unbroken, but the inner, or secondary beams are broken
periodically. When using custom beaming, this is specified by "esbm"
("end subbeam" or "end secondary beam")
on the chord after which you want the break to occur.
When using beamstyle, parentheses are used to indicate what sets of
secondary beams are to be included in a given outer beam.

Cross-staff beams

In keyboard music,
sometimes notes on adjacent staffs are beamed together.
Mup will do this with a variation on
custom beaming.
A bm and ebm must be specified on both staffs, and in each case the
bm is followed by a qualifier:
on the first of the two staffs, "bm with staff below" must
be specified, while on the second staff you use "bm with staff above".
For every point in time for the duration of the beam, one staff
must have a chord with notes in it, and the other staff must have
a space chord. (This is somewhat different than ordinary,
non-cross-staff beams controlled by the
beamstyle parameter,
where spaces are not allowed unless beaming across spaces
is specifically requested.)
The two "bm" marks must occur at the same time in the
measure. Similarly, the two "ebm" marks must
occur at the same time in each staff.
Grouping subbeams using "esbm" is not supported on cross-staff beams.

Normally the beam will be drawn between the staffs, but
you can force the beam to be above or below all the notes by specifying a
stem direction.
You can also adjust the appearance of the beam by giving
stems lengths
for the first and last chords in the beam.

It is possible for cross-staff beams to collide with other items, such as
dynamic marks.
In these cases, you may need to move the other items. Another
thing you might try is
specifying stem lengths
to alter where the beams get placed, or
printing
a blank string between the staffs to cause them to get placed further apart.
If you specify a
slope,
you have to specify it on the staff having notes in the first chord,
not the staff with space.
Slashes
are not allowed on cross-staff beams.

Mup doesn't directly allow cross-staff grace note beams.
However, you may be able simulate the effect by using cue note chords
along with invisible time signature changes and possibly invisible bar lines.
See the
section on "Special uses of invisbar"
for more details.

You may want to also look at the section on
cross-staff stems,
for an alternate way to handles some cases where you might
use cross-staff beams.

Alternation

Alternation pairs
can be specified using "alt N" where N
is a number. An alternation
pair is two chords that are to played alternately in quick succession
but are not written out as such. This is shown by drawing N beams
between the stems of the chords. The note value you specify for each
chord must be the same, and the time value of each must equal the time
taken by the pair. For example, if the pair takes up the time of a half
note, each chord would be a half note.
Here is an example:

// Alternate between c and c an octave
// higher. Total time taken is that of
// a half note. Two "beam"-like lines
// will be drawn to show the alternation.
1: 2c alt 2; 2c+;2g;
bar

Phrase marks

Phrase marks
can be specified by putting "ph" on the chord where you want the phrase
to begin, and "eph" on the chord where you want it to end.
The ph can optionally be followed by "above" or "below"
to specify the side for the phrase mark.
There is also an alternate way to specify phrase marks,
described in the section on
Tempo, Dynamic Marks, Ornaments, etc.